Boston Symphony Orchestra Concert Programs, Season 78, 1958-1959, Subscription

(tf*\ BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

f r**» ¥i A 'ill! Jfllil'i m yi

&— H

SEVENTY-EIGHTH SEASON 1958-1959

Sunday Afternoon Series BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON. JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE

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LAfajetto 3-5700 SEVENTY-EIGHTH SEASON, 1958-1959

Boston Symphony Orchestra

CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical and descriptive notes by

John N. Burk

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President

Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott

TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager

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[*] SYMPHONIANA Exhibition Rudolf Serkin .yJJjfmJnLtmJL 1 1 ixjL

THE TROUSSEAU HOUSE OP BOSTON EXHIBITION

The exhibition now in the gallery :onsists of French late nineteenth-cen- ury paintings and is loaned by the Fogg 4rt Museum.

RUDOLF SERKIN

Rudolf Serkin was born in 1903 in Eger, Bohemia (Czechoslovakia) of Russian parents. At four he showed (possibilities of becoming a piano prodigy, but was taken to Vienna to study with Richard Robert. At the age of twelve, he made his debut as soloist under the j auspices of the Gesellschaft der Musik- I three years, the I freunde. For from age

j of fourteen, he studied composition with Arnold Schonberg. He then began his [ I active career as a concert pianist, giving »,solo recitals throughout Europe, and likewise touring with Adolf Busch in f!

' Sonatas for Violin and Piano. It was

| with Adolf Busch (his destined father-

| in-law) that he made his first appear- ance in America in 1935 at the Coolidge Festival in Washington, D.C. He played Brahms' Concerto No. 1 in D minor with the Boston Symphony Orchestra, December 30, 1938; Beethoven's Con- certo No. 4 in G major, December 22,

1939; Beethoven's Concerto No. 5, in

E-flat major, April 6, 1944; Brahms'

Concerto No. 1, January 20, 1956. Mr. Serkin now lives in Philadelphia and teaches at the Curtis Institute of Music. Spring. C*vent His summer Music School and Festival A teagown to make this Spring an at Marlboro, Vermont, is his dearest eventful one ... of light-weight project. silk with an intriguing print of large • • cabbage roses. Paris Pink or Tur- BERKSHIRE FESTIVAL quoise Roses Sizes 10-20. $39.95

PROGRAMS 416 Boylston St. 54 Central St. The Berkshire Festival for 1959 at Boston 16, Mass. Wellesley, Mass. Tanglewood will open on July 1 with KEnmore 6-6238 CEdar 5-3430 the first of six Wednesday evening

[S] chamber music concerts by artists to bt

announced. The programs for the firs two weeks of concerts by a chamber orchestra of Boston Symphony players and the remaining four weeks of con- certs by the full Orchestra in the Shed are as follows (Friday and Saturday Evenings at 8:30, Sunday Afternoons

at 2 :30) : FIRST WEEK

Fri. Eve., July 3—Theatre

Bach : Brandenburg Concerto No. 3

We love the gay Frenchmen . . . Suite No. 2; Musical Offering

adore the romantic Italians . . . Cantata No. 50 {"Nun ist das Hell") admire our British cousins ... but Conductor: Charles munch when it comes to fashion, no one interprets American women as wisely Sat. Eve., July 4—Shed as American designers. And this Bach : Concertos for 1, 2, 3 and 4 Pianos spring's fashions prove it. Conductor: charles munch

Who else could design, or wear with Sun. Aft., July 5—Theatre such aplomb, this spring's cape-deep Bach : Brandenburg Concerto No. 6 collar . . . the fly-away jacket . . . Cantata No. 51 {"Jauchzet Gott") the coat with the roundly cupped {Soprano: bethany beardslee) convex back? Violin and Oboe Concerto, D minor (RUTH POSSELT - RALPH GOMBERG)

Willowy waistlines are back . . . Suite No. 3 clutched with wide kid belts, wrapped Conductor: CHARLES MUNCH with ascot ties, or drawstring cinched, or belittled with short story jackets. SECOND WEEK Like stereo, checks have a converging

impact this spring . . . woven checks, Fri. Eve., July 10—Theatre

houndstooth checks, lacey checks . . . Mozart: "Don Giovanni" Overture in sharp contrast to flower garden Piano Concerto, K. 453 prints in palpitating sun and shadow (NICOLE HENRIOT-SCHWEITZER)

' tones. And if you're the woman who Divertimento, K. 287

wears beige well, really wears it, by "Haffner" Symphony, K. 385

all means capitalize on the season's Conductor: charles munch color sweep of pure beige. Sat. Eve., July 11 —Shed

American fashions in all their scope Mozart: Symphonies No. 39 in E-flat of color, fabric and line have come No. 40 in G minor of age. Come see them at No. 41 ("Jupiter") Conductor: charles munch

Sun. Aft., July 12—Theatre Mozart: "Prague" Symphony Requiem, K. 626 (ADDISON, KOPLEFF, STERN, GRAMM, FESTIVAL CHORUS) twenty newbury Conductor: charles munch (Continued on page 31)

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1*96. SEVENTY-EIGHTH SEASON • NINETEEN HUNDRED FIFTY-EIGHT - FIFTY-NINE

Sixth Program

SUNDAY AFTERNOON, April 12, at 3:00 o'clock

Faure "Pelleas et Melisande," Suite from the Incidental Music to Maeterlinck's Tragedy, Op. 80

I. Prelude: Quasi adagio

II. "Fileuse": Andantino quasi allegretto

III. Sicilienne: Allegretto molto moderato

IV. "The Death of Melisande": Molto adagio

Honegger Symphony No. 4, "Deliciae Basilienses"

I. Lento e misterioso; Allegro

II. Larghetto

III. Allegro INTERMISSION

Brahms *Piano Concerto No. 2, in B-flat major, Op. 83

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso

SOLOIST RUDOLF SERKIN Mr. Serkin uses the Steinway Piano

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"PELLEAS AND M£LISANDE," Orchestral Suite, Op. 80, TAKEN FROM THE STAGE MUSIC TO MAETERLINCK'S PLAY By Gabriel Faure

Born in Pamiers (Ariege), France, May 12, 1845; died in Passy, November 4, 1924

Composed in 1898, Faure's incidental music to Maeterlinck's play was first heard in the production given in London, June 21, 1898, with Mrs. Patrick Campbell. There was a performance at the Boston Theatre in Boston, also by Mrs. Campbell's company, April 12, 1902. The suite drawn from the music was first performed at a

Lamoureux concert in Paris, February 3, 1901. It was introduced in Boston at a concert of the New England Conservatory Orchestra, March 8, 1904. There was a

performance by the Boston Symphony Orchestra, December 17, 1904, and again

December 2, 1905. Vincent d'Indy, as guest, conducted it March 18, 1911, Pierre Monteux, November 23, 1923, Serge Koussevitzky, April 21, 1939, December 29, 1939, April 20, 1945 (two movements); November 23, 1945 (Paul Paray, conducting). Charles Munch performed the Molto adagio in memory of Ginette Neveu, November 18, 1949. The Suite was performed under the direction of Ernest Ansermet, Decem- ber 14-15, 1951.

ttT)ELL£AS ET MELISANDE" with Faure's incidental music, was * produced four years before the first performance of Debussy's opera on the same play (the play without music had been published in 1892 and first staged in Paris at the Bouffes Parisiens, May 17, 1893). WHO benefits from a Living Trust ?

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The first of the four movements in Gabriel Faure^s suite is the prelude to the play. Quasi adagio, it develops two themes of lyric character, and suggests the forest scene to come with a soft horn call.

The second movement, "Fileuse," is an entr'acte in preparation for the third act where, in a room in the castle, "Pelleas and Melisande are discovered, Melisande spinning with a distaff at the back of the room." It is based upon a spinning figure in triplets (andantino quasi allegretto), which is given to the violins and occasionally alternated with the violas. The Adagio is from the closing scene, the death of Melisande. [copyrighted]

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D YOU KNOW...

that the first appearance of the Orchestra out- side Boston occurred in 1886 . . . that its first New York concert, scheduled for the fall of that year, was delayed by conductor Wilhelm Gericke, who felt that the Sym- phony was not ready . . . that, when the Orchestra finally did appear in New York in February, 1887, its concert series was hailed as a triumph?

DO YOU know that this debut was followed by a Western tour so successful that Gericke and his men received a vociferous ovation on their return . . . that one observer was moved to comment, "A victorious general . . . could not have been more rapturously re- ceived" ?

DO YOU KNOW that subsequent tours were fraught with odd difficulties all their own . . . that, for example, a theatre manager in upstate New York once suggested that the Orchestra "stage a parade before the show", in the manner of a minstrel troupe, to sell more seats

. . . that, to solve a seating problem on the small stage of an Eastern university's music hall, the Symphony's first bassoonist was forced to occupy an elaborate canopied marble chair — the seat of honor for the college president?

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SYMPHONY NO. 4 ("DEL1CIAE BASILIENSES") By Arthur Honegger

Born in LeHavre, March 10, 1892; died in Paris, November 27, 1955

This symphony, composed in 1946, had its first performance by the Orchestra of Basel, January 21, 1947. It was introduced to this country by Charles Munch conducting the Philharmonic Symphony Society of New York, December 30, 1948.

'T^he following is inscribed upon the autographed score: "This fourth -*• and probably last symphony was written for my friend Paul Sacher on the occasion of the twentieth anniversary of the founding of the Baslerkammerorchester."* A note by the composer written for the programs of the Basel

Orchestra on the occasion of the Symphony's first performance has been quoted in the programs of the New York Philharmonic Symphony Society in the following translation:

* The words "This fourth and probably last symphony" indicate the later persuasion of Serge Koussevitzky for whom he wrote his Fifth. Paul Sacher, who conducts a chamber orchestra in Zurich and in Basel, has received the dedication and given first performances to Richard Strauss' Metamorphoseon, Martinu's Toccata and Two Canzone, Martin's Petite Symphonie Concertante, Stravinsky's Concerto for Strings in D major, and Honegger's Symphony for Strings, as well as this one. Each of these works, except that by Martinu, has been per- formed by the Boston Symphony Orchestra.

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"If the Symphonie Liturgique more or less follows the tradition of Beethoven, being in its essence of a dramatic and affecting quality, the present one, on the contrary, more properly gives evidence of a connec- tion with Haydn or Mozart in its spirit and its form. The instrumen- tation, which comprises two flutes, oboe, two clarinets, bassoon, two horns, trumpet, piano, and percussion, in addition to strings, virtually relates it to chamber music. The writing is transparent and, above all, linear. "The first movement, dating from June, 1946, expresses precisely a 'state of spirit.' In the midst of odious and stupid conditions of life which are imposed upon us, it raises the hope of an escape from such an atmosphere, as, for instance, to spend a summer in Switzerland,

surrounded by affectionate friends for whom the musical art still plays a major role. This expectation instills in the composer the urge to create. "The second movement is based on the old popular song of Basle Z'Basel an mi'm Rhi, which toward the end of the movement is cited entire in its original and ingenious form [horn]:

"The Finale is of polyphonic construction, a bit complex, perhaps (but the listener needn't become too concerned about that), in which

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the various components are progressively superposed. The form con- tains elements ol rondo, passacaglia, and fugue. From all of these superpositions there leaps forth the tune Easier Morgenstreich, which

^fTTOiT^irrp i TTn i T M' ^^

soars over the stretto of the principal theme, and after a reference to the slow episode of the middle of the movement, there is a quick con- clusion, like a cloud of dust which disappears. "Because of the quotations of these characteristic songs, but even more so for personal reasons, I have employed the subtitle Deliciae

Basilienses [Baslerian Delights], I hope I have not been false to their 1 spirit."

M. Honegger visited America in 1929, and conducted the Boston Symphony Orchestra as guest on January 11-12. He returned to this country in the summer of 1947 at the invitation of the Berkshire Music Center^ to take the composition class at Tanglewood with Aaron Copland. Arthur Honegger was a son of Switzerland, a true product of the little country where it is claimed the fairer traits of the French and German peoples are "happily blended."

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"His education and general culture are purely French," says

colleague, "but there is in his temperament a stratum of undeniab

Germanic heredity which allies him to the great masters beyond tl

Rhine. In him blend harmoniously the intellectual qualities of tl Latin, of dimension, clearness, and order, the delicacy of hearing an

the sensitiveness natural to the Frenchman, with the instinct for di cipline and that depth of sentiment which are considered the heritag of the Germanic race."

He was born and grew up in Havre, but his parents were both froi Zurich, and the family often visited the Swiss city. Neither parent w? particularly musical, but his mother played the piano sufficiently to fii him with an ardor for Beethoven's sonatas. An unnamed lady of th Austrian consulate at Zurich divined musical possibilities in the sma boy of six, and urged his development. He was taught piano and violir and it is reported that while his instruction was still limited to th beginning violinist's key of G, he wrote little pieces which he na'ivel called "sonatas" and "operas," showing an instinctive understandin of musical forms. At sixteen he entered the business house of his father, but when b attended the Conservatory of Zurich, the director, Hegar, persuade' the by no means reluctant father that the art of music was the son

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[19] true and only place. He entered the Conservatoire in Paris in 191 iK and there sat beside the young Darius Milhaud in the classes

G<§dalge and Widor. His compositions as a student came under tin beneficent eye of Vincent d'Indy.

"The plant flourished under this culture," writes Roland Manuel ii a monograph which carefully follows his stylistic development. "When another would have been stung to rebellion by a regime of discipline Honegger submitted peaceably, while the first foliations of an awaken ing originality took their free course, quietly, but with increasinj boldness, within the formal bounds. He gladly made Bach his master ." studied the great architect of music with devotion. . . At twenty-five he was a self-found artist, and while passing undei such influences as Ravel, Debussy, and German romanticism, it wai a warrant of personal integrity that heterogeneous elements becamt

fused and apt in his work. From 1916 to 1920, Honegger wrote s considerable amount of chamber music of which M. Roland Manue considers the 'cello sonata most important. At about the end of tht war, Honegger was frequently seen among the "Nouveaux Jeunes,'

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[tl] so dubbed by Erik Satie, by him cherished and nurtured at his estat lishment in the Rue Huyghens. It was here in 1919 that Honegger suddenly found himself publicl classified as one of the "groupe des six," a title which, is now a legend The episode may here be dismissed with a few lines from the com poser himself. "The critic Henri Collet, of Comcedia, came one day t< Milhaud, wishing to meet some of the younger musicians. That day he became acquainted with Auric, Durey, Milhaud, Poulenc, Germaini Tailleferre and myself. In an article a few days later he compared u to the 'Five' Russians, and called us the 'Six' French." The unexpected publicity was both widespread and misleading These young people were not entirely averse to a reputation, and whai they had never officially admitted they were not obliged officially tc disclaim. Held together by no stronger bonds than companionship and a musical absorption in music, each continued blithely to pursue his or her own particular path. Honegger's path led him, by way of various incidental music and ballets, into a feat which surprised him probably as much as anyone else — incidental music for "Le Roi David," begun and finished b)

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In] necessity, in two months, performed at the "Theatre du Jorat"

Mezieres, near Lausanne (1921), and within two years spread its wir 1; as a widely popular oratorio. According to Manuel, he had no tii to refine, to experiment, boldly to break new ground in a medium -> him unaccustomed. The result was a score which, despite individual force and mer still leaned on tradition, and delighted the conservatives. But "Hora Victorieux" (1921) showed him uncorrupted by base concessions. "T rear guard," says Manuel, "were embarrassing the author of King Dav with welcoming smiles, while the advance guard, disgusted, wT ere reai to bestow upon him the contemptuous label 'The Virtuous Arthu

Hero of the Philistines.' But, oblivious to the rumble of factions, t 'virtuous Arthur' sat unperturbed in his study, smoking his pipe."

Rene* Chalupt thus sums up his style: "Through the tutelage of a uncongenial culture he has passed essentially unaffected. He is moi interested in the nature of things than their changing phases. We s( in him the image of the Horace whom he has created. His art possessi muscular vigor and judicious wisdom, which, while husbanding i

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The following music by Honegger has been performed by th| Orchestra:

1922 (Nov. 21) "Horace victorieux" (First American performance) 1924 (Oct. 10) "Pacific 2-3-1" (First American performance)

1927 (Apr. 1) "Pacific 2-3-1" (Oct. 28) Incidental Music to "Phedre"

1928 (Apr. 1) "King David" (Pension Fund concert) 1929 (Jan. 11) "Pacific 2-3-1" "Pastorale d'ete" "La Petite sirene" Prayer from "Judith" "Rugby" "Chant de Nigamon" "Horace victorieux" Concertino for Piano (The above conducted by the composer)

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[26]

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1930 (Feb. 17) Concerto for Violoncello (Monday series)

1931 (Feb. 13) Symphony No. 1 (First performance)

(Mar. 19) Symphony No. 1

1933 (Nov. s) Mouvement symphonique No. 3

1946 (Dec. 27) Symphony No. 2

1947 (Oct. 31) Symphony No. 2

(Nov. 21) Symphony No. 3 1948 (Oct. 8) Symphony No. 2

1949 (Apr. 1) Symphony No. 4

(Dec. 30) "Jeanne d'Arc au bucher"

1950 (Oct. 13) Prelude, Fugue and Postlude

1951 (Mar. 9) Symphony No. 5 (First performance)

1952 (Feb. 1) "Pacific 2-3-1"

(Apr. 25) Symphony No. 2

(Dec. 19) "La Danse des morts"

1953 (Mar. 27) Symphony No. 2

(Nov. 20) Symphony No. 1 1954 (Apr. 15) Symphony No. 1

(Nov. 5) Symphony No. 5

[«»]

T, ' ««8.

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[*9] (Dec. 1) "A Christmas Cantata" (First performance in America)

1955 (Nov. 4) Symphony No. 4

(Dec. 2) Symphony No. 5 (First movement, played in memory of the composer)

1956 (Apr. 20) Symphony No. 3 "Chant de joie"

(Nov. 30) Symphony No. 2

*957 (Jan. 4) "Rugby" (Dec. 20) "A Christmas Cantata"

1958 (Oct. 10) Symphony No. 5 1959 (Mar. 6) Symphony No. 4 [COPYRICHIED]

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[SO] (Continued from page 4) THIRD WEEK BOSTON BELMONT July 17—Shed Fri. Eve., NORTHSHORE E-ioz: "Corsair" Overture

[ tinu : "The Parables"

: No. 6 c aikovsky Symphony Conductor: charles munch

Sat. Eve., July 18—Shed

'5ER: "Oberon" Overture

: Symphony of Chorales (Composer Conducting) [aikovsky: Violin Concerto (ISAAC STERN) Conductor: charles munch

Sun. Aft., July 19—Shed isky-Korsakov : Introduction and March, "Coq d'Or" iussy: Afternoon of a Faun jdy: Symphony on a Mountain Air (nicole henriot-schweitzer)

iaikovsky : Symphony No. 5 Conductor: pierre monteux

FOURTH WEEK

Fri. Aft., July 24—Shed :h-Respighi: Passacaglia

lHMS : Violin Concerto (ISAAC STERN)

Ihoral Preludes auss : Don Juan Conductor: pierre monteux at. Eve., July 25—Shed iHMS: Academic Festival Overture roN : Symphony No. 3 lhms: Symphony No. 1 Ah! the faint Conductor: charles munch sound of silk

Sun. Aft., July 26—Shed True navy in pure silk shantung kHMS : Haydn Variations gently bolstered by its own net

?land: "The Tender Land" Suite and taffeta petticoats . . . with [Composer Conducting) a beautiful blaze of white jabotl 16. 39.95 kHMS : Piano Concerto No. 1 Sizes 10 to (RUDOLF SERKIN) Conrad & Chandler Third Floor Conductor: charles munch for Misses' Dresses (Continued on page 32)

[S«] )

(Continued from page }i) FIFTH WEEK SIXTH WEEK

Fri. Eve., July 31—Shed Fri. Eve., August 7—Shed It Berlioz: "Requiem" Beethoven : Symphony No. 4 (john mccollum, Tenor) Choral (festival chorus) Fantasy with Piano Conductor: charles munch Piano Concerto No. 4 (RUDOLF SERKIN Sat. Eve., August 1—Shed Conductor: charles munch Mendelssohn : "Italian" Symphony Sat. Eve., August Shed Piano Concerto No. 1 8— (RUDOLF SERKIN) Beethoven: "Fidelio" Overture

Wagner: Prelude "Tristan" Symphony No. 6, "Pastorale"

Schumann : Symphony No. 4 Symphony No. 5 in C minor Conductor: pierre monteux Conductor: pierre monteux

Sun. Aft., August 2—Shed Sun. Aft., August 9—Shed Tcherepnin: Symphony No. 4 Beethoven : "Coriolan" Overture

Mendelssohn : Violin Concerto Symphony No. 9 (ISAAC STERN) (ADDISON, KOPLEFF, STERN, GRAMM, FESTIVAL CHORUS) Schumann : Symphony No. 2 Conductor: charles munch Conductor: charles munch

KLM is proud to be the Airline preferred by the BOSTON SYMPHONY ORCHESTRA

KLM Royal Dutch Airlines It privileged to have been chosen by the Boston Symphony Orchestra for its most recent transatlantic trip to Europe.

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KLM service features superb Continental cuisine end traditional Dutch hospitality. KLM ROYAL DUTCH A1KUNBS SO Boylstoa Street, Boston. Matt. Liberty 2-9311

[S«] , EN: COMPLETE PIANO A VIRTUOSO OF TOS— Concerto No. 1 TRULY HEROIC POWERS, RUD( -ML 4914 • Concertos Nos. 2 |#Iajor and 4 in G Major-ML 5037* SERKIN'S DEFINITIVE PERFORMANCES ON RECORDS, No. 3 inC Minor-ML4738» jfNo. 5 in E-flat Major ("Emperor") MADE EXCLUSIVELY FOR COLUMBIA, ARE IN EFFECT 43J —with the Philadelphia Orchestra, ne'rmandy, conductor. THE CORNERSTONES OF RECORDED PIANO LITERATURE. JMNN: Piano Concerto in A Minor jar and Orchestra, Op. 54 • iV: Burlesque in D Minor—with 'fijdelphia Orchestra, U()rmandy, conductor. ML5168 to: Concerto No. 17 in G Major — jjnand Orchestra, K. 453; Concerto Major for IJi C Piano and Orchestra, filwith George Szell conducting the la Symphony Orchestra. ML 5169

^": Concerto No. 23 in A Major for U Orchestra, K. 488; Concerto In D Major for Piano and Orchestra, l-with Alexander Schneider I'ngthe Columbia Symphony (a. ML 5297

|r: Concerto No. 21 in C Major for 'id Orchestra, K. 467; Concerto : n B-flat Major for Piano and ra, K. 595— with Alexander er conducting the Columbia ny Orchestra. ML 5013 )VEN: Variations on a Theme by

, Op. 120. ML 5246

S: Concerto No. 2 in B-flat Major o and Orchestra, Op. 83— with the phia Orchestra, Eugene Ormandy, or. ML 5117 ^-^'

THE SOUND OF GENIUS IS ON HIGH-FIDELITY RECORDS BY COLUMBIA ENTR'ACTE BIOGRAPHIES OF COMPOSERS

^THiE following list of biographies of composers is selected from -^ those conveniently informative and available in English. The source books in several volumes and the entirely documentary books are not included. The recommendations are qualified in some cases, where the best (or only) book-length biography of a certain composer may fall considerably short of a masterpiece. Marc Pincherle's books on VIVALDI and on CORELLI, Henry

Coates' PALESTRINA, J. A. Westrup's PURCELL, Kirkpatrick's DOMENICO SCARLATTI, Charles Sanford Terry's JOHANN CHRISTIAN BACH are necessarily almost entirely devoted to the period and the music. Somewhat more is known about JOHANN SEBASTIAN BACH. Albert Schweitzer's fine treatise (in two volumes) is outstanding, but there are excellent single volume books by Terry and by C. Hubert H. Parry.

Romain Rolland's book on HANDEL, though a brief treatment, is a fine summation. A more recent and more fully documented life is by Herbert Weinstock.

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f 35 Allied Einstein's GLUCK, in the Master Musicians Series, is more easily obtainable than Ernest Newman's book of 1907.

The best book in English on HAYDN 's life is by Karl Geiringer. There are more recent books of the first importance, but they are devoted entirely to the music.

MOZART is admirably treated in Einstein's Mozart — His Charac- ter, His Work. The incidents of the composer's life are, however, incidental to the "character" and the music. More biographical are

Eric Blom's and W. J. Turner's books, both excellent and useful. BEETHOVEN is treated from the historical point of view by

Edouard Herriot, from the philosophical point of view by J. W. N. Sullivan. Vincent d'Indy's is a more personal point of view. Rolland's short biography rivals his monograph on Handel. This author has devoted himself more extensively to the various periods of Beethoven's life and music in five separate volumes. He was at once a scholar, a

sensitive musician, an idealist. His approach is not always found

acceptable by those who believe that elevation of the spirit is a concept

as easy to name as it is difficult to convey.

The standard book on WEBER is the memoir by his son. SCHUBERT has had worthy treatment by Kobald (stressing the period), by Einstein (this brings us closest to the music), by Maurice Brown (a recent book, tracking down debated points). SCHUMANN has had no really satisfactory biographer since Fred- erick Niecks (1925). His own letters and collected writings best bespeak him.

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JOHN HARVARD — the stetue produced by Daniel Chester French's imagination and artistry (no likeness of Harvard survived to French's time) now regards the "yard" In its fourth century. With apologies to Mr. French, THE SILVERSMITHS' SHOP has rendered his bronze in silver and gold.

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[S7] 1

Berkshire Music Center

CHARLES MUNCH, Director

The Boston Symphony Orchestra's

Summer Music School AT TANGLEWOOD

JUNE 29 — AUGUST 9

Students — Teachers

Orchestra, Chamber Music, Chorus Conducting, Composition

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Symphony Hall, Boston 15, Massachusetts

t3»] On CHOPIN there is William Murdoch, and Casimir Wierzynski who stresses the composer's youth in Poland. Herbert Weinstock's is a readable presentation, more than half of it devoted to the music. A mass of literature on LISZT has appeared in the last century and in this. The earlier books are unreliable. The Man Liszt by Ernest

Newman is unsympathetic and largely corrective. Sacheverell Sitwell's and Harsanyi's are among the more recent ones. MENDELSSOHN has been neglected. Schima Kaufmann's life

1(1934) has not been superseded. BERLIOZ' memoirs will never be improved upon, but they have been amended and filled out in such full-length biographies as Barzun's

(originally two volumes). Turner's life is excellent.

On DVORAK there is Paul Stefan's book; on GRIEG, David Monrad-Johansen; on SMETANA, F. Bartos; on SIBELIUS, Karl Ekman.

On BRAHMS, the book by Florence May, an English pupil, is a delightfully personal memoir. It is in two volumes. Richard Specht's book is recommended, Walter Niemann's and Karl Geiringer's, the latter particularly on account of letters then newly revealed (1936). No single volume life of WAGNER could be adequate, but there are numerous books on various aspects of his life and character. The autobiography, My Life, covers two volumes. Ernest Newman's four

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[40] olumes are certainly readable, probably definitive. The work is argely commentary, and assumes the reader's basic acquaintance with

he life story. The book on C£SAR FRANCK by his disciple, Vincent d'Indy, was ;he literary main source on the subject until the appearance (in 1951) ol the book by L£on Vallas. This fills biographical gaps and corrects a certain amount of idolatry. DEBUSSY has been fully and admirably treated by Vallas, mostly from the point of view of the music. Victor I. Seroff (1956) goes merci- lessly into the love affairs, hitherto treated with caution and reticence.

The most useful book on FAURE is by Charles Koechlin; on RAVEL by Seroff; on BIZET by Minna Curtis (Bizet and His World).

This is a recent and admirable presentation of his circle and period. On the subject of RIMSKY-KORSAKOFF, the composer's My Musi- cal Life could hardly by improved upon. The main source book on

TCHAIKOVSKY is the life by his brother Modeste, translated by Rosa Newmarch. The book gives a personal and readable picture, but expectably avoids the subject of abnormality. Herbert Weinstock's life is the most recent and the next best in English. Calvocoressi's book on MOUSSORGSKY, posthumously revised in 1956, is standard.

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[4i] 1

has added .1 more oi less "debunking" life. PROKOFJEFF's biographer!

is 1. Nestyev, but the memoirs by N. Nabokov (Old Friends and New Music) is more revealing. The standard book in English on SHOSTA- ROVITCH is by Seroff.

Newman's HUGO WOLF is an old book (1907) but it is unsuper- seded. Of the Italian operatic composers, there are books on MONTE-

VERDI by Henri Prunieres, Leo Schrade and J. A. Westrup. There

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[4«] Is the life of ROSSINI by Francis Toye, who has written an equally tandard life of VERDI. PUCCINI has been recently and well covered

>y Mosco Carner. BRUCKNER has failed to inspire an adequate life in English, but

;he book by Werner Wolff fills the gap. Donald Mitchell's GUSTAV MAHLER: The Early Years, the first

of a projected two-volume work, is mostly an assemblage of material.

.The only personally revealing book is Memories and Letters by Mahler's widow, now Frau Franz Werfel. ELGAR has been a favorite subject for English writers, particularly Basil Maine and Thomas F. Dunhill. DELIUS has been best dealt with by Eric Fenby (his pupil), Philip Heseltine and H. Hutchings.

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[43 There is no adequate life of RICHARD STRAUSS in English, but his Recollections and Reflections is recommended. On STRAVINSKY there are numerous books and endless articles; but since he is still busily composing from year to year, no one has caught up with him. His Chronicles of My Life takes us as far as 1935. Valuable books exist on other composers still living, or recently living. BART6K's life has been written by Halsey Stevens, and a personal memoir of his American sojourn, The Naked Face of Genius, by Agatha Fassett. There is a book on FALLA by J. B. Trend, on MARTINU by M. Safranek. MILHAUD's own Notes Without Music is autobiographical. HONEGGER's Je suis compositeur has unfor- tunately not yet been translated.

On American composers there is Isaac Goldberg's book on GERSH-

WIN, written before the composer's death, but still valuable. There are books on COPLAND by Arthur Berger and by Julia Smith; on WILLIAM SCHUMAN by F. R. Schreiber and by V. Persichetti; on BARBER by Nathan Broder. j. N . B .

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[45] CONCERTO NO. 2 IN B-FLAT MAJOR FOR PIANOFORTE AND ORCHESTRA, Op. 83 By Johannes Brahms

Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897

Composed in 1881, the concerto had its first performance at Budapest, November 9 of that year, with Brahms as soloist. The concerto has been performed with this orchestra by the following pianists:

B. J. Lang (March 14, 1884); Carl Baermann (March 19, 1886) ; Rafael Joseffy

(January 17, 1896); Adele Aus der Ohe (February 10, 1899) ; Rafael Joseffy (Decem-

ber 30, 1904) ; Ossip Gabrilowitsch (February 15, 1907) ; Harold Bauer (February 25, 1916); Carl Friedberg (March 23, 1917); Ossip Gabrilowitsch (January 19, 1918);

Felix Fox (November 21, 1919) ; Harold Bauer (December 7, 1923) ; Moriz Rosenthal (February 11, 1927); Artur Schnabel (Brahms Festival — March 23, 1930); Ossip series — Gabrilowitsch (Brahms Festival — April 28, 1933) ; Josefa Rosanska (Tuesday February 5, 1935) ; Beveridge Webster (Monday series — December 30, 1935); Artur

Schnabel (April 10, 1936) ; Myra Hess (April 9, 1937); Artur Rubinstein (April 6» J 939); Leonard Shure (February 21, 1941); Nicole Henriot (February 9, 1951); Claudio Arrau (January 9, 1953). It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings. It is dedicated to "My dear friend and teacher, Eduard Marxsen." It is always a delight to me," wrote Dr. Billroth, "when Brahms, after paying me a visit, during which we have talked of indifferent things, takes a roll of manuscript out of his overcoat* pocket and says " casually: 'Look at that and write me what you think of it.' An incident of this sort happened in the late summer of 1881, at

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Wi. Pressbaum, near Vienna, where the composer had chosen summer quar-

ters, and where he gave his friends a glimpse of his latest score, com- pleted that season. The manuscript which Brahms sent Billroth on July

1 1, with the words "a few little pianoforte pieces," cautioning him, by the way, to keep them to himself and to return them as soon as possible, was nothing less than the Second Pianoforte Concerto in B-flat major. He had written to Elisabet von Herzogenberg four days earlier — "I don't mind telling you that I have written a tiny, tiny pianoforte con- certo with a tiny, tiny wisp of a scherzo. It is in B-flat, and I have reason to fear that I have worked this udder, which has yielded good milk before, too often and too vigorously." "How very nice of you, my dear, good Friend," answers the grateful Elisabet, "to take up your pen again immediately! I have to thank you doubly since you had such good

* Brahms, far more interested in comfort than style, seems to have been famous for an old brown overcoat at this time. He must have worn it with entire complacence, for his friends, the Herzogenbergs, wrote him (October 28, 1881) — "If you only knew how we two look !" forward to seeing that good old brown overcoat

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[471 news to send of a tiny, tiny piano Konzerterl with a tiny, tiny Scherzerl, and in B-flat — the true and tried B-flat!" The "tiny, tiny pianoforte concerto," which Miss Florence May modestly refers to as of "quite unusual dimensions," still has no rival among concertos in largeness of design. The "tiny wisp of a scherzo" was nothing less than the Allegro appassionato which, inserted between

the first movement and the Andante, gave the work the four-movement

aspect of a symphony, and caused Hanslick to call it a "symphony with piano obbligato." Later analysts have been careful to add that while Brahms has gone his own way in juxtaposing the piano and orchestral parts, he has faithfully maintained structural concerto tradition in the order of setting forth his themes. To Brahms, the making of a piano concerto was a serious matter. Twenty-two years had passed since his First, in D minor, had been introduced. Another one would have been eminently serviceable to him on his many concert tours as pianist, particularly since the First,

after its original fiasco, had never been received by the public with open arms, even in the more devoted "Brahms" towns. But the Brahms who had firmly established his fame with the First and Second Sym- phonies approached again the vexed problem of a piano concerto — entirely without haste.

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[49] j

It was in April 1878, during Brahms' first journey in Italy, that, according to the testimony of his companion, Billroth, the concerto first began to take shape in his mind. Brahms, so Billroth tells us, com- pletely succumbed to the Italian spring, visited Rome, Naples, Sicily, and was "charmed with everything." Returning in May to Portschach, the lovely spot on the Carinthian Worther See which also gave birth to two scores of special melodic abundance — the Symphony in D major and the Violin Concerto, Brahms put his sketches upon paper. Three years later, the spring once more called Brahms to Italy. He returned to his beloved haunts and sought new ones in Venice, Florence, Pisa, Siena, Orvieto, Rome, and again Naples and Sicily. He returned to

Vienna on May 7 (his forty-eighth birthday) , and on May 22 sought refuge at the villa of Mme. Heingartner in Pressbaum near by, pre- sumably for the completion of two scores: a setting of Schiller's

"Nanie," and the concerto. It was on July 7 that he quietly told his intimately favored Elisabet that he had a concerto for her to see. Performances were arranged for a number of cities in November

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[5«] OPENING TUESDAY NIGHT, APRIL 28

74th Season

ARTHUR FIEDLER'S 30TH ANNIVERSARY SEASON

The Pops will be given each night except

Mondays in May (including Sunday after- noons and evenings), and nightly except Sundays through June 27.

Tickets on sale at Box Office two weeks in advance of each concert. (CO 6-1492) SYMPHONY HALL BOSTON

[5«] KNEISEL BALL, BLUE HILL, MAINE Summer School

July 6th to August 29th, 1959 INTENSIVE ENSEMBLE and INDIVIDUAL TRAINING Distinguished Faculty includes: JOSEPH FUCHS - ARTUR BALSAM - LOUIS PERSINGER ROBERT GERLE - WALTER TRAMPLER - LUIGI SILVA RUTH BALSAM - CHRISTINE DETHIER - LOUISE BEHREND

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[53] and December, the composer as pianist. Budapest was the first, on

November 9; then came Stuttgart, November 22. Biilow conducted it at Meiningen on November 27, in an all-Brahms program, and subse- quently took his orchestra to Berlin and to Hamburg, introducing the concerto in those cities. Zurich, Breslau, Kiel, Bremen, Munster like-

wise heard it. Before the performance in Vienna (December 26), Brahms, as he had done (or was to do) with each of the four sym- phonies, played his own two-piano arrangement with Ignatz Briill, for a group of friends. The tour also included Leipzig on New Year's Day, 1882, Utrecht later in January, and Frankfort in February. Although one critic in Vienna found Brahms' playing "uneven and

at times heavy," a decided success is reported from each city, with the

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[54] iingle and usual exception of Leipzig. The Gewandhausler, who were ^developing an actual admiration of Brahms the symphonist, evidently

Itill considered that the last and all-sufficient word in pianoforte con- xertos had been said by Mendelssohn. Brahms had asked Elisabet won Herzogenberg to send him the press notices, and the poor lady's store of tact, so often needed, was again called into play. She wrote: rHere are the desired bird-notes" (one of the critics was Vogel). "If [you had not left definite orders, I should really be ashamed to send you

such discreditable stuff, although, looked at in a humorous light, it

'has its charm." In brief, the critics were compelled by honesty to report a general coolness on the part of the public. It was the less tactful Biilow who took his Meiningen Orchestra to Leipzig in March of that year, and making a speech at an all-Brahms concert, told the Leipzigers that he had arranged the program "by express command

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[55] of his Duke, who had desired that the Leipzig public should know how the symphony (the First) should be performed; also to obtain satisfaction for the coldness manifested toward the composer on his appearance with the new concerto at the Gewandhaus on January l.l Biilow had affronted the Leipzig Orchestra before, and they had refused to play under him. Brahms obtained "satisfaction" from Leipzig when years later he conducted at the Gewandhaus, making his last public appearance in

that city. It was January 31, 1895. Much water had flowed under the musical bridges. The once reluctant Leipzig had become a militant Brahms center. The public was by this time so thoroughly converted to Brahms that they sat through the two concertos played in a single evening (by Eugen d'Albert), and rejoiced in the experience! [copyrighted]

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COpley 7-9000 400 Commonwealth Ave.. Boston. PARKING FACILITIES [56] Individual Progress Individual Attention Only at The Music Box afe can you hear The Boston 4- Symphony Orchestra re- c produced through three- channel stereo Klip- X Pupils Start Any Tim*

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For information about adver- tising in the Boston Symphony Tfo« MusSb H®k Orchestra publications write CENTRAL STREET or call Advertising Depart- WELLESLEY ment, Symphony Hall, Evening hours on Friday, 7 to 9 CO 6- 149*

[57] Boston Symphony Orchestra

(Seventy-eighth Season, 1958-1959) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bass Clarinet Richard Burgin Joseph de Pasquale Rosario Mazzeo Concert-master Jean Cauhap£ Bassoons Alfred Krips Eugen Lehner Sherman Albert Bernard Walt George Zazofsky Ernst Panenka Rolland Tapley George Humphrey Theodore Brewster Norbert Lauga Jerome Lipson Vladimir Resnikoff Robert Karol Contra - Bassoon Harry Dickson Reuben Green Richard Plaster Gottfried Wilfinger Bernard KadinofE Horns Vincent Mauricci Einar Hansen James Stagliano Joseph Leibovici John Fiasca Charles Yancich Earl Hedberg Emil Kornsand Harry Shapiro Roger Shermont Violoncellos Harold Meek Minot Beale Samuel Mayes Paul Keaney Herman Silberman Alfred Zighera Osbourne McConathy Stanley Benson Jacobus Langendoen Trumpets Leo Panasevich Mischa Nieland Roger Voisin Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Andre Come Clarence Knudson Bernard Parronchi Gerard Goguen Pierre Mayer Martin Hoherman Trombones Manuel Zung Louis Berger William Gibson Samuel Diamond Richard Kapuscinski William Moyer Victor Manusevitch Robert Ripley Kauko Kahila Winifred Winograd James Nagy Josef Orosz Melvin Bryant Flutes Lloyd Stonestreet Tuba Doriot Anthony Dwyer K. Vinal Smith Saverio Messina James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Bernard Zighera Leonard Moss Piccolo Olivia Luetcke Jesse Ceci George Madsen Timpani Noah Bielski Oboes Everett Firth Alfred Schneider Ralph Gomberg Harold Farberman Joseph Silverstein Jean Devergie Percussion John Holmes Basses Charles Smith Georges Moleux English Horn Harold Thompson Henry Freeman Arthur Press Louis Speyer Irving Frankel Piano Henry Portnoi Clarinets Bernard Zighera Henri Girard Gino Cioffi John Barwicki Manuel Valerio Library Leslie Martin Pasquale Cardillo Victor Alpert Ortiz Walton E\) Clarinet William Shisler

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[59] The Trustees, Dr. Munch, and the members of the Orchestra

express their sincere thanks to those of you who have

already joined the FRIENDS for this season.

It is our earnest hope that those who have not as yet joined

the FRIENDS for this season will do so now.

Your membership will mean much towards the support of

the Orchestra.

Sincerely, Henry A. Laughlin

Chairman, Vfiends of the Boston Symphony Orchestra

Uj^^P^^ International Concert

^r ^"^^S CHARLES MUNCH, Conductor f BOSTON \ tn honor of I SYMPHONY I loRCHESTRAy WORLD TRADE WEEK

^&^<^^^ Wednesday, April 15, at 8:30 ^V?^ SYMPHONY HALL CHARLES MUNCHt Music Director

Mozart ...... Symphony No. 35, "Hafifner" Debussy La Mer

Brahms . Symphony No. 2 in D major

Tickets at $5, $4.30, $3.20 available at

Symphony Hall Box Office - CO 6-1492

[6o] LIST OF WORKS Performed in the Sunday Afternoon Series DURING THE SEASON 1958-1959

3arbirolli An Elizabethian Suite, arranged from the "Fitzwilliam Virginal Book"

IV February 1 Sartok Concerto for Orchestra II November 23 Seethoven Overture to "Egmont," Op. 84 II November 23 Berlioz Overture to "Beatrice et Benedict" I November 2 "Royal Hunt and Storm," Descriptive Symphony from "The Trojans"

V March 1 Bloch "Schelomo" (Solomon), Hebrew Rhapsody for 'Cello and Orchestra Soloist: Samuel Mayes V March 1 Brahms Symphony No. 2, in D major, Op. 73 IV February 1

Piano Concerto No. 2, in B-flat major, Op. 83 Soloist: Rudolf Serkin VI April 12 Delius "The Walk to the Paradise Garden," Intermezzo from "A Village Romeo and Juliet" IV February 1

Dvorak Symphony No. 4, in G major, Op. 88 II November 23 Faure "Pelleas et Melisande," Suite from the Incidental Music to Maeterlinck's Tragedy, Op. 80 VI April 12 Foss Symphony of Chorales, for Orchestra Conducted by the Composer I November 2 Hindemith Symphony, "Mathis der Maler" III January 4 Honegger Symphony No. 4, "Deliciae Basilienses" VI April 12

Kurka Symphony No. 2, Op. 24 III January 4 Schubert Symphony in C major, No. 7 I November 2 Strauss Symphonia Domestica, Op. 53 V March 1

Tchaikovsky . . Symphony No. 6, in B minor, "Pathetique," Op. 74 III January 4 Walton Partita for Orchestra

IV February 1

Antal Dora 1 1 conducted the concert on November 23 Robert Shaw conducted the concert on January 4

Sir John Barbirolli conducted the concert on February 1

[61] A LIFE IS IN HIS HANDS..

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[62] SYMPHONY HALL SEVENTY-NINTH SEASON, 1959 — 1960

^Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Six SUNDAY AFTERNOON CONCERTS

at 3 :00

OCTOBER 11 JANUARY 31

NOVEMBER 8 FEBRUARY 28

JANUARY 10 APRIL 3

Have you returned your renewal card for next season?

May 15 th is the deadline for options.

If you have any questions, please contact the SEASON TICKET OFFICE Symphony Hall CO 6-1492

M*».

[63] MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM VIOLIN TEACHER - COACH BOO BOYLSTON STREET Tel. commonwealth 6-3361 BOSTON 16. MASSACHUSETTS

EDNA NITKIN Pianist Teacher

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SALVATORE SULLO PIANIST - TEACHER

Studied at Naples Conservatory (scholarship) and with Alfred Cortot, Paris. Chamber Music concerts with members of Boston Symphony Orchestra.

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MINNIE WOLK PIANOFORTE STUDIO EDITH STEARNS 42 Symphony Chambers PIANIST 246 Huntington Avenue, Boston opp. Symphony Hall Faculty of Boston University Residence EXport 5-6126

[64] SEATS ARE NOW BEING ASSIGNED at 143 NEWBURY ST. (near Dartmouth)

for next season's Symphony Hall events in the Boston University Celebrity Series Presented by Aaron Richmond

23 Events were completely sold out this season

N. Y. PHILHARMONIC, Bernstein, Conductor PHILADELPHIA ORCH., Ormandy, Conductor NOTE ARE AVAILABLE AT REDUCED PRICES TO SERIES SUBSCRIBERS THIS SPRING ONLY

Other orchestras in the Celebrity Series will be

THE CLEVELAND ORCH., George Szell, Conductor

with Leon Fleisher, Piano soloist LAMOUREUX ORCHESTRA from PARIS, Igor Markevitch, Cond.

In addition to the Cleveland and Lamoureux

orchestras, the selective list includes

Yehudi and Hephzibah Menuhin, the Festival Quartet (Primrose, Babin, Goldberg,

Graudan), Adele Addison, Byron Janis, Montoya, Addison, Schwarzkopf, Bachauer,

Malcuzynski, Iglesias Spanish Ballet, Casadesus, the Juilliard, Griller, Budapest string quartets, Francescatti, and Jose Limon Dance Co. COMPLETE PICTORIAL CIRCULAR AT BOX-OFFICE The brilliant

Soviet Mezzo Soprano

ZARA DOLOUKHANOVA chooses Baldwin for her JORDAN HALL RECITAL

TUESDAY EVENING, APRIL 21st

THE BALDWIN PIANO COMPANY 160 BOYLSTON STREET BOSTON

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